PAIN OF SALVATION

Progressive Metal / Non-Metal • Sweden
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Pain of Salvation is a progressive rock band from Eskilstuna, Sweden. The band is centered around lead vocalist / guitarist / composer / writer Daniel Gildenlöw.

Trademarks include concept albums focusing on social, environmental, philosophical, and emotional issues as well as songs that incorporate complex rhythms and time changes but retain flowing melodies.

The band was formed by Daniel Gildenlöw in 1984 under the nick name Reality. The band used to participate in many music contests in their homeland of Sweden. The first EP, Hereafter, was recorded in 1996 under the monicker Pain of Salvation, which has been the name of the band since 1991. The Lineup of the band was the same for their first official full length album, Entropia(1997).

After the departure of Daniel Magdic for continuing disagreements with the others over committing to the increasing demands of the band, the band recorded One Hour By The Concrete
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In The Passing Light Of DayIn The Passing Light Of Day
Inside Out Music 2017
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Remedy Lane Re:visited (Re:mixed & Re:lived)Remedy Lane Re:visited (Re:mixed & Re:lived)
Inside Out Music 2016
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Original Album Collection: Discovering Pain OfOriginal Album Collection: Discovering Pain Of
Insideout Music 2016
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BeBe
Insideout Music 2010
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Falling HomeFalling Home
Inside Out Music 2015
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EntropiaEntropia
Insideout Music 2010
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Road Salt TwoRoad Salt Two
Inside Out Music 2012
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Road Salt OneRoad Salt One
Inside Out Music 2012
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12:0512:05
Imports 2010
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PAIN OF SALVATION Entropia CD Progressive Rock / Metal Debut BRAND NEW 1999 PAIN OF SALVATION Entropia CD Progressive Rock / Metal Debut BRAND NEW 1999 USD $3.32 Buy It Now 4 days
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PAIN OF SALVATION Discography

PAIN OF SALVATION albums / top albums

PAIN OF SALVATION Entropia album cover 4.25 | 53 ratings
Entropia
Progressive Metal 1997
PAIN OF SALVATION One Hour by the Concrete Lake album cover 4.17 | 52 ratings
One Hour by the Concrete Lake
Progressive Metal 1998
PAIN OF SALVATION The Perfect Element, Part 1 album cover 4.36 | 77 ratings
The Perfect Element, Part 1
Progressive Metal 2000
PAIN OF SALVATION Remedy Lane album cover 4.29 | 65 ratings
Remedy Lane
Progressive Metal 2002
PAIN OF SALVATION BE album cover 4.20 | 60 ratings
BE
Progressive Metal 2004
PAIN OF SALVATION Scarsick album cover 3.42 | 50 ratings
Scarsick
Progressive Metal 2007
PAIN OF SALVATION Road Salt One album cover 3.56 | 46 ratings
Road Salt One
Non-Metal 2010
PAIN OF SALVATION Road Salt Two album cover 3.62 | 26 ratings
Road Salt Two
Non-Metal 2011
PAIN OF SALVATION Falling Home album cover 2.89 | 9 ratings
Falling Home
Non-Metal 2014
PAIN OF SALVATION In The Passing Light Of Day album cover 3.79 | 7 ratings
In The Passing Light Of Day
Progressive Metal 2017

PAIN OF SALVATION EPs & splits

PAIN OF SALVATION Linoleum album cover 3.81 | 12 ratings
Linoleum
Non-Metal 2009

PAIN OF SALVATION live albums

PAIN OF SALVATION 12:5 album cover 4.29 | 20 ratings
12:5
Non-Metal 2004
PAIN OF SALVATION Ending Themes: On the Two Deaths of Pain of Salvation album cover 4.44 | 9 ratings
Ending Themes: On the Two Deaths of Pain of Salvation
Progressive Metal 2009

PAIN OF SALVATION demos, promos, fans club and other releases (no bootlegs)

PAIN OF SALVATION Hereafter album cover 5.00 | 2 ratings
Hereafter
Progressive Metal 1996
PAIN OF SALVATION The Painful Chronicles album cover 5.00 | 2 ratings
The Painful Chronicles
Progressive Metal 1999
PAIN OF SALVATION Fan Club CD 2006 album cover 5.00 | 2 ratings
Fan Club CD 2006
Progressive Metal 2006

PAIN OF SALVATION re-issues & compilations

PAIN OF SALVATION singles (1)

.. Album Cover
3.07 | 3 ratings
Ashes
Progressive Metal 2000

PAIN OF SALVATION movies (DVD, Blu-Ray or VHS)

.. Album Cover
4.89 | 11 ratings
Be Live
Progressive Metal 2005
.. Album Cover
3.61 | 9 ratings
Ending Themes - On The Two Deaths Of Pain Of Salvation
Progressive Metal 2009

PAIN OF SALVATION Reviews

PAIN OF SALVATION BE

Album · 2004 · Progressive Metal
Cover art Buy this album from MMA partners
mlkpad14
Pain of Salvation was founded in 1984, by the eleven years old Daniel Gildenlöw, in Eskilstuna, Sweden. Every album released thus far has been a concept album; from Remedy Lane (2002) to The Perfect Element, Part I (2000) and In the Passing Light of Day (2017), the band has released a multitude of albums in the progressive metal genre. However, their most ambitious effort to date - that is BE (2004) - transcends any genre. It is not only a great musical experience but a major crack at ideology and philosophy. To be blunt, BE is Pain of Salvation's masterpiece, but it is also a very challenging and rewarding album.

This review will first describe the musical journey, and it will also analyze all of the themes included.

--

"Animae Partus ("I Am")" sounds like it belongs in the soundtrack for "The Tell-Tale Heart" by Edgar Allen Poe. It introduces the album with menacing bass notes and ominous breathing. In the background, snippets of gospel-like and harmonic vocals can be heard propelling the song forward, but first and foremost are spoken word vocals that are not uncommon in post-rock. All of it makes for a very haunting two minutes.

Next, "Deus Nova (Fabricatio)" first makes use of The Orchestra of Eternity, which is truly an integral part of the album. A minute in the instrumentation becomes heavier; grand, progressive keyboards, guitar soloing, and nu metal rap vocals make up the majority of the track, but towards the end, the "Animae Partus ("I Am")" feeling returns, and the spoken words can be heard echoing.

"Imago (Homines Partus)" is not unlike "Songs from the Wood", by Jethro Tull. It is obviously folk-influenced, what with the acoustic guitar and flute playing that is dominant throughout. However, "Imago (Homines Partus)" also features a lot of contrast, which gives it the defining Pain of Salvation sound first established in The Perfect Element, Part One. The ending sound effects create the image of a forest: branches rustling, wind blowing, and pond cracking.

"Pluvius Aestivus" again makes brilliant usage of The Orchestra of Eternity. The piece is piano-driven, and it would not be out of place on Tchaikovsky's Swan Lake. Nobody would have ever expected something like this to appear on a Pain of Salvation album, but Gildenlöw is highly well-rounded.

"Lilium Cruentus" has an epic feel, so that in many ways it sounds like a twisted version of a ballad. There is more going on here than there appears to be: the soft parts sound repressed, but so do the rapping and screaming parts; albeit forceful and angry they are definitely curbed. The significance here is that this drives the album forward, and it foreshadows some sort of breakdown later on in the album.

"Nauticus (drifting)" comes out preachy and features more gospel. It is even more repressed, as if further elevating that future epic. At the end, there is some humorous spoken word music (think Frank Zappa).

If the theatrical "Dea Pecuniae" was performed on Broadway, it would probably alienate a lot of fans; however, Mike Patton would certainly approve of the vibe. A little over three minutes in, Gildenlöw's guitar solo is most unexpected, but Cecilia Ringkvist comes in strong on vocals, eliminating any doubts. Guitar harmonics are also responsible for the strong and successful development that makes the song, and eventually everything comes together - the shattering of a glass, screaming, and then this spoken word outro, leading right into the next song.

"Vocari Dei (Sordes Aetas - Mess Age)" is pure post-rock; piano and subtle sound effects carry the spoken words. Godspeed You! Black Emperor's Lift Your Skinny Fists Like Antennas to Heaven is a clear inspiration - Pain of Salvation's distant contemporary. Amongst the typical English language, "Vocari Dei" uses Japanese, Dutch, and Greek to its advantage.

"Diffidentia" - headbangers, it's metal! Now, at last, we get a typical Pain of Salvation song: driving and heavy guitar, complex time signatures and subdivisions, gentler choruses, and brilliant dynamics. With the release of BE, many were disappointed that there was still no trace of The Perfect Element, Part II - they should have listened to the whole record first! What is so impressive about "Diffidentia" is that the orchestra is, even now, and undeniable part of the music!

"Nihil Morari (Homines Fabula Finis)" opens up with a repetitive rhythm on the fretless bass (reminiscent of Tool). It continues to use prog metal and nu metal as its biggest influences, and it also links back to "Deus Nova (Fabricatio)". On top of all of that, the piece screams Serj Tankian at times - all of that, of course, being pretty awesome!

"Latericius Valete" has somewhat of a symphonic feel and is somewhat of a guitar and cello duo. Together, "Latericius Valete" and "Omni (Permanere?)" sum up all different parts of the album, providing temporary closure. "Omni (Permanere?)" has the trademark prog sound popularized by Genesis and Gentle Giant - guitar arpeggios fit in very well with the orchestra, indeed.

Finally, "Iter Impius" could not be placed better in the album. Easily the best track off of the album, "Iter Impius" is six minutes of pure emotional bliss. It is almost a continuation of "Dea Pecuniae" except the ballad is more straightforward and heartfelt. Here, like throughout Remedy Lane, Gildenlöw's vocals are in full form, and nobody has a vocal range like he does! Sometimes, piano and vocals is the best way to go!

"Martius/Nauticus II" is a return to the folk style of "Imago (Homines Partus)", and it basically concludes the album. That is, "Animae Partus II" has some drumming and thumping, but otherwise, it is four minutes of silence (at the end, a family can be heard laughing and enjoying themselves).

Additionally, each part seems to begin and end on either an epic or silent note, which is cool to say the least.

My top 5: 1. Iter Impius 2. Dea Pecuniae 3. Imago (Homines Partus) 4. Diffidentia 5. Nihil Morari (Homines Fabula Finis)

--

2017 interview on Pain of Salvation (Daniel Gildenlöw):

"My biggest problem is that I don't believe in God, which makes everything very difficult. But, I still feel the need to address God. That's the weird thing. I've always felt that the notion of God is really important. Divinity for mankind and sort of God life being is a very strong and important concept for mankind, so it's impossible not to be fascinated and deal with it.

I talk to God every once in a while. I always start with "sorry for not believing in you". There you go... You know, for the odd chance that he or she actually exists... It's not therefore that I don't believe in them (laughs). Things can exist even if you don't believe in them. It's not that I'm saying that it's impossible that there is some sort of God; I just don't believe in it.

I tried to make that thought experiment in "BE", that if there is a God, by default that God must be on a level of existence that we cannot grasp or understand. That doesn't necessarily mean that it's something exceptionally bizarre..."

On BE:

"Chinassiah is a word puzzle, as so many other titles and phrases on the album. It derives from the combination of China (for fragility and beauty, but also man made) and Messiah (for savior but also the notion of something in which we, humanity, put our faith for salvation)."

The Latin errors are on purpose, and each of the puzzles can be translated into English.

"Animae Partus ("I Am")" can be translated to mean "A God Is Born ("I Am")". It describes how Animae, the album's representation of God, first appears out of nothing. It ends on the haunting line, "And I will spend the rest of forever; Trying to figure out who I am."

"Deus Nova (Fabricatio)", meaning "New God", describes how people first populated the Earth. Animae looks down upon the people and states, "I think they will teach me something."

"Imago (Homines Partus)", or "Imago (Man Is Born)" , is more on the birth of man, which, in the album, is represented by Imago. The lyrics describe the moralities of Imago, and the "Breathe and BE" qualities of Imago,

"Pluvius Aestivus" means "Summer Rain". It is strictly instrumental, but it most likely represents "longing for the things we could not be" from Imago. Man is beautiful, yet far from perfect overall; for every champion, there is a rotten egg too.

"Lilium Cruentus", "Blood Stained Lily", is about death, and it is about all those that truly do not deserve to pass on. (leftovers from Rope Ends?)

"Nauticus (drifting)" is about the fictional space probe, Nauticus. According to BE, it is the most intelligent space probe to have ever been created, and it drifts throughout space, searching for answers to "save Earth from itself". Additionally, "Nauticus" is latin for "Sailor"; Nauticus embarks on a journey throughout space.

At the end of "Nauticus (drifting)", Mr. Money is first introduced along with his girlfriend. He jokes about letting her drive the expensive car; in other words, Mr. Money represents "greed" and one who is pretentious (not Daniel Gildenlöw; he is not pretentious!).

"Dea Pecuniae" can be translated to mean "Goddess of Money". The first part, "Mr. Money", is about how Mr. Money decides he loves money, more than any women; he does not care about making relationships, and rather, he decides to be "cold" and "mean". "Permanere" and "I Raise My Glass" play on the same concept.

"Vocari Dei", "Message to God", is about how powerful faith is. Many are uncertain that Animae exists, or they believe he is no longer there; however, they still pray to him or her - against everything that Mr. Money stands for.

"Diffidentia", "Mistrust", is one big theory revolving around everything that brought about the destruction of Animae - at first, Imago screams of hope, but at the end Imago states, "We failed."

"Nihil Morari (Homines Fabula Finis)" means "Nothing Remains (The Story of Man Comes To An End)". Imago apologizes for all of its sins - "Abuse", "Rape", stealing, and the loss of "thanks" - that finally cause Imago to implode on itself. "Latericius Valete", or "If You Are Strong, Be Strong", and "Omni (Permanere?)", or "Everything", further stress this concept.

"Iter Impius", meaning "Wicked Path", describes how Mr. Money finally wakes up. He has spent all of his money on cryogenics, and asked not be awaken until he be made immortal. How that he is immortal, he is very happy; he does not care when he discovers the absence of Imago.

At the end, Nauticus finally succeeds in his journey and contributes the "BE" that society needs to survive. This is in "Martius/Nauticus II"; in "Animae Partus II", Animae comes back, bringing a brand new Imago with him.

What happens to Mr. Money is uncertain. The above review is just my interpretation of one of the best albums ever.

--

Live on, Pain of Salvation! (but seriously, I love every album they have released!)

PAIN OF SALVATION The Perfect Element, Part 1

Album · 2000 · Progressive Metal
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voila_la_scorie
An 80's hair metal band gets marinated in progressive rock.

I read a lot of very good reviews about this album and saw it was among the top rated prog metal albums on PA and MMA. Since I had just received at the time Symphony X's "V: The New Mythology Suite", which is another top rated prog metal album on both sites, and I quickly grew to love it, I thought that this album should be among my next prog metal purchases. Honestly though, this one is taking its time to appeal to me.

The good points are many. Daniel Gildenlow has a very diverse voice and can sing anything from gruff barks to high screams to smooth and calm to somewhere in between it all. The album tells the story (part 1) of two broken people, He and She, who meet and begin a relationship. That's as far as I got there. I'm afraid the broken people stories don't go far with me. The best one I've heard is Nine Inch Nails' "The Downward Spiral". After that it's difficult to impress me with that kind of story. Still, Gildenlow uses his voice to effectively convey the emotions of each part of the story. The music is for the most part not too complex but like "The Wall" (in a way) mostly sticks to relaying the moments in the tale. The tempo stays slow to mid-range and I only noticed one part where a double bass drum comes into play. In this way, this is a pretty mild and tame metal album despite the theme of pain and frustration.

Two other points to mention in favour of the music are the guitar and keyboards. While there are no catchy, bang-your-head metal riffs, the guitarist (be it Gildenlow or Johan Hallgren) uses lead playing to create beautiful melody lines and as well there are some delightful licks here and there in the solos, particularly in "Her Voices" lies a favourite of mine. Fredrik Hermanssen is used very well to provide beautiful piano passages, atmospheric synthesizer, and some powerful rhythm synth work that treads into symphonic prog metal at times, most notably in the title track. I always feel that if you're going to have a keyboard player in a metal band then you should let him/her contribute to the overall quality of the music and not just keep the keys in the background for rhythm behind the guitars.

There's some great music on this album and the songs to stand out the most for me are "Ideoglossia", "Her Voices", "King of Loss" and "Reconciliation". These songs are where the overall feel of the album is wonderfully combined with some excellent music that captures the progressive metal quality best or where the music is simply beautiful. The title track offers some great moments too.

However, there are some aspects of the album that still haven't grabbed me. First, this is not really a heavy metal album. There are parts where the guitars are loud and the vocals screaming or full of raw energy but the majority of the songs are pretty lightweight. Even when the music gets heavy and aggressive I find myself thinking that it needs more bass to enrich the sound. It's as if the band wanted to show aggression without wanting to be offensive. The first four songs are easy to get by because they don't really get the album up and running. It's not until "Ideoglassia" that things really turn exciting and even then the song reuses the pseudo-rap of "Used" and reintroduces the chorus of "Ashes". It almost seems that the album is already reprising music before it has hardly gotten started. Thankfully the rest of the song really begins to show off POS's talent. There are also a couple of puzzling spoken lines like "Call your dad" at the end of "Her Voices" and the beginning of "Dedication" (I'm sure he says, "Call your dad") and "Will I ever walk again?" in the title track. If I familiarize myself with the story more it might make more sense to me, but these lines just seem to leap out from the music and I'm like, "Huh?"

For me, a good album should be enjoyable to listen to straight through and as well have a few songs that can be enjoyed on their own. The four songs that I have mentioned here are great stand alone tracks but the rest of the album goes by me without many parts signaling my attention. I agree that this is a great album insofar as the effort and outcome are concerned. But I am not as excited about the whole concept as I am about the music in a few parts.

For anyone who doesn't like really aggressive metal but can appreciate something a little more melodic and easy, this album makes for a nice safe step into progressive metal. I think it's still a good album, but I'd like to hear another POS album that is either a little more technical or a little more varied in pace.

PAIN OF SALVATION Scarsick

Album · 2007 · Progressive Metal
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Unitron
Pain of Salvation-Scarsick

This may come as a surprise to some, but Scarsick is my second favorite Pain of Salvation album. To some PoS fans, it may come as a disappointment, and some of the rap-metal vocals may be a turn-off to some but this is still a great album in my opinion.

Unlike their previous albums, Scarsick has more crunching guitar riffs and an overall angrier sound. Scarsick is technically the sequel to 'The Perfect Element', which seems to be one of their most critically acclaimed albums even though I can't seem to enjoy it much. Whereas the concept of part one of 'The Perfect Element' was focusing on mental degradation, Scarsick is focusing on the physical degradation of the boy character.

The music is a pretty big change from the standard PoS sound, with more thrash guitar, rap-metal vocals, and the bass stands out much more from what I hear. Certain moments remind me of Porcupine Tree, especially the chorus on the title track. The way the crunching guitar perfectly goes into a soft flowing vocal passage, just reminds me of certain PT songs. There are also moments that almost come near Death metal, such as Gildenlow's screams in the song 'Flame to the Moth'. 'Idiocracy', 'Flame to the Moth', 'Enter Rain', and the title track are my favorites. The only song I have a complaint with is 'Disco Queen', if it wasn't for that song this album would probably be flawless to me. The song just sounds incredibly out of place and breaks the flow of the album, it also isn't very pleasant to hear Gildenlow reach the highest notes he can and imitating Disco.

The lyrics are much more relatable to me, seeing as most of them are about the corruption in society and the government which I feel a similar way about. The lyrics do get really angry sometimes, but it fits the angry mood the music sets in place.

Overall, give this album a chance. It's a perfect example of a love/hate album in my opinion, I happen to love it yet another person may despise it. If you enjoy prog metal AND hints of alternative metal, you may find some enjoyment in this album like I do. I recommend PoS fans to at least check it out. Hope you found this review helpful.

Feel free to comment!

PAIN OF SALVATION Road Salt One

Album · 2010 · Non-Metal
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Earendil
Road Salt One sounds like Pain of Salvation had the idea of doing a stripped-down, non-metal song, did a couple demos, and just went with the best version. Then, they repeated this process until they had enough music to fill an album. Welcome to Road Salt One, a concept album where half of the songs are explicitly about sex and the other half are about a girl. I found nothing unifying about the album to warrant it a concept album unless it was how every song sounded like part of the same underdeveloped demo, which is not exactly something to strive for. Overall, some credit must be given because this album is indeed unique, but it fails to deliver at all musically.

Rating: 3/10

PAIN OF SALVATION BE

Album · 2004 · Progressive Metal
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The Angry Scotsman
An intriguing album that is a major break from the band's old style.

Considered by some as the bands masterpiece, by some as the beginning of the end for the great band, by some just a weird, difficult work "BE" is a unique piece of music that at least warrants a few listens to try and grasp it.

While Pain of Salvation's first 4 albums were well written, not too technical, emotional and unpretentious classics of prog metal, "BE" is a dense, difficult and pretentious album that is very low on the metal.

Not that it's a bad thing. While proud of their superior music, prog fans have proven they can be as stubborn as any. Frankly, I applaud the band's radical change in direction, even if it's not the best executed, and certainly not the most accessible. Wouldn't we all end up mocking the band if they just made 8 albums of the same thing anyway?

No doubt this is a challenging album. Besides the big drop in heaviness, the whole album works together as one big piece instead of individual songs. Each song flows into the next, and often the songs themselves feature stops followed by huge changes, like the work has moved onto its next part and the "songs" are random lines thrown down randomly not really marking a new piece.

Indeed this appears to be the case. In true prog rock fashion the album is really broken into 5 movements, subdivided into the songs and sometimes the songs subdivided into smaller segments. "BE" deals with human existence, the environment and especially the subject of God. It's a grandiose story that rivals Tool in being labyrinth like and purposely impenetrable. Could continue on with this stuff but onto the music itself before I get too distracted.

"BE" is an extremely diverse prog rock album. There are moments of heaviness, but its largely a mellow prog rock outing with an orchestral feel. Violins, cellos, brass, woodwinds, and church organ are all found throughout. While at first listen "BE" sounds quite minimal, like background to whatever wackiness is going on, if you listen all the way through there are some pretty awesome riffs, melodies and all the staples of Pain of Salvation: off beat syncopation, abrupt changes, gentle movements and rock out thrashing, and of course Daniel's varied always perfect vocal style. Though quite a few times they are over the top and silly, sometimes painful and you have to accept it as part of the whole experience, or grin and bear it.

There is heavy use of spoken word samples like real people calling "Gods answering machine" to say anything they'd like, news stories of various tragedies, a woman orgasming, it's all over the place. Which can be said of the music as well, all over the place. Rockin prog metal, folk passages, church like music and Broadway musical you really have no idea what this album will throw at you.

So I really can't accurately describe this album, not in a way to do it justice, so you just have to listen yourself. It's important not to skip, even if you're going crazy to do so. Just listen from start to finish, and do so several times. At first it will be a mess, I know I couldn't even figure out what was happening, but with time the music itself will appear and it's a pretty solid display of prog rock. Overly serious and wacky, almost to the point of self parody? Seems that way, but just give it a few deep listens. Some parts really are quite beautiful, like the worldly folk piece "Imago" and "Vocari Dei" featuring the people calling "Gods answering machine" is one of the more moving things you'll hear.

I am not sure how to rate this, each person can react to an album like this so radically different, and even though I quite like it, "BE" can not be called a metal album. Which is difficult to rate overall for a metal site. So I'll say it's a pretty good album at it's core, but only each of us can truly decide for ourselves how we feel. Regardless, it's an experience like few others.

Three and a Half Stars, but rate for yourself!

PAIN OF SALVATION Movies Reviews

PAIN OF SALVATION Ending Themes - On The Two Deaths Of Pain Of Salvation

Movie · 2009 · Progressive Metal
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AtomicCrimsonRush
A great concert, and a documentary DVD packaged like a TV series: 'a groundbreaking parallel story, mixing Days of Our Lives, Lord of the Rings and Some Kind of Monster.' Clever packaging conceals what this really is, one DVD centres on the touring behind the scenes in painstaking detail, and we learn many useless but amusing things such as their fetish for toy racing cars and Monty Python DVD box sets. The documentary is at times conveyed by the band in their native tongue so subtitles are essential and thankfully available. The doco may not endure repeated viewings but its nice to meet their cute little fan club members and see their delight as they meet the band. It is essential viewing if you want to get through the quiz that has to be completed correctly in order to unlock a swag of special features. You will eventually get the questions right as they do not change and you can write down the answers by a process of elimination. You have to put up with an obnoxious ugly face telling you what a loser you are until you do of course, but it's worth it. You get a special code when you get them all right saving you the hassle of redoing the annoying quiz. But if you put in the code wrong you are sent to 'hell', complete with burning flames and evil laughter, and you have to work your way back to the title menu to get out of it. Nasty touch I must say and quite disconcerting. The features are great particularly the demo versions of 'Scarsick' tracks, deleted scenes, and some nice footage of the band, bootlegs and photo sessions are included.

This is all incidental I guess, as the main drawcard is the actual concert which is well filmed at the famed Paradiso in Amsterdam, where other prog bands have been captured on DVD such as Riverside (on ADHD special edition). The performance does not rely on flashy lights or smoke, rather it is all about the music and this is some of POS best material from their highly celebrated albums such as 'One Hour by the Concrete Lake', 'Entropia' and 'Remedy Lane'.

The sound quality is excellent and the audience reactions are well interspersed among the band crunching out one belter after another. Hildegaard has longer hair now and looks more at home with the metal when he bangs his head. Certainly the set list is not flawless, for instance 'Fandango' and 'Beyond the Pale' are missing, and there is a great focus on 'Scarsick' album, however there is enough here to satiate the appetite of most fans.

The crowd pleasers are here such as 'America', 'Nightmist', '! (Foreword)' and the fabulous infectious 'Disco Queen' that the crowd adore and its easy to see why. I love all these but the darker side of the band is impossible to ignore and may not be for all tastes. The expletive heavy 'Cribcaged' is offensive enough and I must admit I hate it when bands think they need to drop the F bomb repeatedly to hammer home a point. So Robert De Niro's cigarette and Al Pacino posters annoy the band; OK, I get it, but why do they have to degrade themselves to this type of material. It's a pity really, as the band are better than this. Look at the way they deliver 'Chain Sling' and their dark version of 'Hallelujah' to see my point. The 'Hallelujah' version is better than the original Cohen IMHO, it is that good, and the crowd sing along loudly in adoration.

The quiet melodic POS is here too on suicidal unfriendly ballads such as 'Undertow' from 'Remedy Lane' and the bittersweet 'Brickworks 1'. It is all very dark and moody and intense. Each track is sung with passion and the time sig changes of the music are admirable. The booklet gives little away, although the oppressive lyrics are here, and the storyline attached is as bogus as the rest of the packaging conveying some story of yet another motor vehicle accident, another one! This is becoming standard prog fair for concept albums these days.

The fake reviews on the so called TV series are amusing, a TV series that is cited as 'a groundbreaking parallel story, mixing Days of Our Lives, Lord of the Rings and Some Kind of Monster.' Work that out! The track listing is identical to the double CD release but its way better to watch the band in full flight as these tracks are pounded out. This is a bit of a hit and miss affair for me; some of the tracks are not as good as other PoS material particularly there is too much emphasis on 'Scarsick', whereas i think 'Remedy Lane' buries it, in fact all their other albums have far more to offer in terms of prog metal, but the energy is tangible, the crowd love it and the music is infectious. 3 stars.

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I really love this band early albums !!!!!!!

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